It can be really weird to say, 'Hey man, let's make a record and start with this horrible zither sound.' But I was obsessed with the idea of taking a sound and completely phenomenologically thrashing it."

I'm interested in philosophy, I studied it, and I also admit I try to read things that are way above me. I have a limit: I take what I need from it, and I do find that some of my favourite philosophical writings tend to be poppier. I admire smart people who are able to describe things simply or in a human, readable way.

If there is any selfish angle, then it would probably be me just knocking myself in the head, thinking "Is there anybody here? Am I still able to communicate with other musicians?"

It's such a contentious thing to get people in a room and just say, "go!"

I don’t have a theoretical language for music. I’m really inspired by sculpture, so I like to say, ‘you’re not making music, you’re creating a space. You’re building a room, putting some objects in it, and seeing what happens to the objects over time.’

Games is like hardwired plumbing in the house of pop. It's not pop itself, its sort of like the behind-the-scenes arteries and capillaries of pop music.

I think, if you can only talk about your stuff in a jargonistic way, you're not as smart as you think. You're alienating people who deserve to have a conversation, or a place in the conversation. If you take the complete inverse and are staunchly anti-intellectual, then I think there's a certain amount of resentfulness in that. There's something about that standpoint that feels a little bit insecure.